Ray and Betty LP

Discussion in 'Music Corner' started by Jeff.B, Jan 13, 2002.

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  1. Jeff.B

    Jeff.B New Member Thread Starter

    Location:
    Salem MA
    This is a repost of some questions which I had posed for Steve to the Phonogram online group. Steve asked me to repost the questions here for a more complete discussion:

    "I have an LP I purchased many years ago entitled "Ray Charles and Betty Carter." Great LP. It is on Personality, some European label, and on the back, it says this LP was licensed from: DCC Compact Classics, with a date of 1989.

    Well, in the credits it states, "Digitally rebalanced by Ray Charles, mastered by Steve Hoffman and Terry Howard at Ray Charles' RPM Studios, Los Angeles, June 1988."

    1st question: What does "digitally rebalanced" mean?

    2nd question: Were you working directly with Ray himself? If so, what was that like?

    3rd question: Is this the same remastering as on the DCC LP released directly through DCC (I understand that there were two separate releases)?

    4th question: How does the final result of the one you worked on compare with an original ABC-Paramount?

    Jeff
     
  2. Steve Hoffman

    Steve Hoffman Your host Your Host

    Hi Jeff,

    Thanks for posting. You had originally asked:

    "I have an LP I purchased many years ago entitled "Ray Charles and Betty Carter." Great LP. It is on Personality, some European label, and on the back, it says this LP was licensed from: DCC Compact Classics, with a date of 1989.

    Well, in the credits it states, "Digitally rebalanced by Ray Charles, mastered by Steve Hoffman and Terry Howard at Ray Charles' RPM Studios, Los Angeles, June 1988."

    What does "digitally rebalanced" mean?

    -----------------------------------------------------------------------
    "Digitally rebalanced" just meant that Ray, Terry Howard and I remastered the tape on to a Sony 1630 machine, via Ray's Braille console. Why we chose "rebalanced" instead of remastered, I can't remember. Might have been the 1/2 gin & 1/2 hot coffee that I was sampling out of Ray's big beer stein...

    This is the same SOLID STATE remastering that DCC did in the late 1980's on clear vinyl. (Don't ask why). The lacquers were cut at Future Disc Systems with my buddy Kevin Gray from an analog EQ'd (by Ray) master, solid state all the way.

    The 180-gram Virgin Vinyl LP I cut in the 1990's is from the two-track master, bypassing the console, flat with a tube cutting system. THAT is the one to get...

    The original cutting on ABC-Paramount is a typical Bell Sound Studio cutting of it's era: high cut around 10k, low cut around 50 cycles, big boost around 4k, and some analog compression thrown in for good measure. Oh, and cut from a Bell Sound "Safety" made from the original United Audio tape.

    It does have it's charm, sounds quite good in a nostalgic early '60's kind of way and the pressing is rare as hell in good shape. Not my idea of the ultimate sound quality though. Too much tailored for your Zenith or Magnavox console.

    What was it like working for Ray? A blast. His engineer Terry Howard is a neat guy, and Ray is always amazing to be around.

    At first, when I was working on the DCC Ray stuff, back in 1987, he didn't exactly seem too thrilled about hearing his ABC stuff again. I think it reminded him of bad stuff (read his biography). But, I must say, he warmed to the occasion quickly and really got into the music (which he had not heard in many years).

    He used to make me sit in the dark in the studio and try and engineer just by feel. He said that it was what HE had to do, so I better get used to it if I was going to work with him.

    Funny guy, eh?

    He could "hear" when the meters were peaking, and when they were just right at "0" vu on his console. AMAZING ears!

    His studio is in an old kind of scary (at night) part of Los Angeles, (R.P.M International Studio at 2107 West Washington Blvd., east of Western), and there wasn't much to eat in the neighborhood except one homemade BBQ place. Ray never ate with us (for obvious reasons), but he sent out for BBQ every day so we could chow down.

    Always had the same thing: Hot links sandwich. In other words, some beef links dripping in sauce in between two pieces of wonder bread. Also some yummy sweet potato pie, and some kind of Orange Crush type thing to drink.

    Thank God the bathroom was close by in Ray's studio. You can only eat so much of that in one week before your insides rebel!
    I loved hanging around his studio. Same place he recorded "Let's Go Get Stoned" and "America The Beautiful". Still had the same dark green carpet and studio clock, mikes, electric piano, etc., from the 1960's. Terry Howard and I were the only white guys in that entire studio and office complex, (and probably the entire neighborhood), and I always felt honored that Ray wanted me to hang with him there.

    I used to love watching him "read" magazines in Braille. I asked him once what he was reading and he said "Playboy". Ha. He is the ONLY person ever to REALLY read it just for the articles!

    When I was working on "Hit The Road, Jack" at his studio one day, he came in and stood right in front of the speakers. It was obvious he had not heard his recording of that song for a very long time. He nodded his head for a minute to the music, and then SCREAMED OUT in time with the song: "Oh Woman, oh woman why'dya treat me so mean, you are the meanest old woman that I've ever seen", etc. His voice ROARED out, louder than the blaring speakers, louder than any human voice I had ever heard. Amazing. Jumped out of my skin, actually. What a voice! I was in awe at that moment and felt very glad to be there.

    Funny thing is, he wanted to erase his old vocal track on that song and replace it with a new one. "I sing it SO much better now", he said! I talked him out of it, thank God!

    At any rate, it was fun working with Ray. I'll never forget him!
     
  3. DanG

    DanG On Green Dolphin Street

    Location:
    Florida
    Incredible coincidence. I was waiting for Steve to get back from CES to post the following:

    Remastered by Ray Charles and Steve Hoffman, January 1994

    This is the credit listed on DCC Jazz GZS-1050, Ray Charles and Betty Carter.

    I was going to comment on the singularity of the credit, and ask what that experience was like. And here you've just done it! Thanks! :D

    I picked up the CD over the holidays. I'm really enjoying it!
     
  4. J Epstein

    J Epstein Member

    Location:
    Brooklyn, NY
    It's my contention that "Hit THe Road Jack" is the hardest rocking song ever recorded.

    Sounds like a lot of fun. One question - why is it obvious that Ray wouldn't eat with you? I don't get it?

    -j
     
  5. Sckott

    Sckott Hand Tighten Only.

    Location:
    South Plymouth, Ma
    I LOVE the old Ray Charles stories.

    I'm telling ya, Steve. Write a book, or be ready when VH1 calls for a Behind The Music!
     
  6. Steve Hoffman

    Steve Hoffman Your host Your Host

    Brickface,

    Ray was embarrased about eating in front of people due to his blindness.

    I think he always had help eating. Get it?

    Also, I was told he ate very, very little.
     
  7. J Epstein

    J Epstein Member

    Location:
    Brooklyn, NY
    Now I get it.

    That's funny, I would have assumed he'd have no problem, since (from everything I've read) he was pretty slick with the unexplainable skills.

    (PS: brickface was me, I decided to un-moniker.)

    -j
     
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